In this feature from Kageki, several of the younger senior actresses talk about things that affected them early in their career. The November 2015 issue features Mana Haruto, Yumeki Anru, Junya Chitose, and Tenma Michiru.
TAKUMI – Artists’ First Steps
Mana Haruto (Snow Troupe): The phrase that prepared me to work hard in Takarazuka
In the Bow Workshop Frozen Tomorrow I was given the role of the lead’s henchman, which seemed like a big part to me since I was only just ken-3, so I was really excited. However, Director Shibata and Mirai Yuuki told me “getting a bit part in a little theatre doesn’t mean the same thing will happen right away in the Grand Theatre,” and that’s really stayed with me. Everyone wants a good role so they’re doing their best, but in each work there are those who get those roles and those who don’t…their words made me realize that each production is put together with everyone’s varied feelings. That became the basis of my thinking from then on, so that no matter what occasion or part I have the same motivation to put forth my best effort: this is what prepared me to do my best as a member of Takarazuka. Another thing from that time was overcoming my nervousness about performing in front of the director and the senior actresses during rehearsals. I learned that the most important thing in rehearsals is to give it your energy, even if you don’t do so well.
What I’d like to say to the current junior actresses is that no matter what role you get, it’s vital to see what you can learn from it, give it your best, and work hard.
Yumeki Anru (Star Troupe): The song that made me like singing
When I was ken-3, I had my first Grand Theatre solo song in BOLERO, and because of that I started to like singing. After that I had more chances to sing in the smaller theatres. There was an audition for that part and I was really nervous, thinking “can I really sing such a grown-up song while I’m only ken-3?” But the composer, Takahashi Kuni, told me “you should go for it”. It was an adult love song during Chie-san [Yuzuki Reon] and Nene-san’s [Yumesaki Nene] pair dance, and it was very difficult, but I was determined to make it passionate so I practiced while listening to the original song over and over. Some of the senior actresses, such as Otohana Yuri and Kawai Mizuho, taught me a lot, and gave me advice like using an otokoyaku singing style in the song as well. I’m so grateful to all the senior actresses.
The recent production of Catch Me If You Can was difficult, but from now on I want to work on ‘singing as my part’.
Junya Chitose (Cosmos Troupe): The first time I experienced an mysterious sensation
Among the roles I’ve had up to now, there are some that have affected me really deeply. Recently, in Top Hat, my part of Madge Hardwick was so enjoyable that it made me think “I wish I could play this role again.” However, even more than just performing, the role that allowed me to experience a mysterious sensation was my part in Sanctuary of Catherine de Medici. Since she was a real person, I read a lot of historical information, and while my approach to taking on a role wasn’t any different than usual, but when it became time to go on stage I realized that I’d never entered so deeply into a character ever before. I was nervous, of course, since it was the real performance, but on the other hand I didn’t feel like I was actually performing: it was mysterious even to me. Since it was a difficult play set in 16th-century Europe, I was naturally wiped out at the end of each performance, but I think it was really special to have such an experience as an actor.
I hope to learn from all the experiences I have from now on and improve on stage as well as becoming stronger in women’s roles1.
Tenma Michiru (Flower Troupe): When my attitude towards roles changed
When I was a junior actresses, there was a time when it seemed that all my classmates were appearing in Bow Hall shows one after the other and I was the only one left out. It was a really depressing, dark time, and I felt like retiring even before I got a chance to show what I was capable of. When I was thinking ‘if things are no good this way I need to take on some new challenge,’ an substitute was needed for a full-show part in Rose of Versailles Side Story: Andre. It was only a small part, but I was totally energized. “I’m going to get a part,” I was determined, and the next day, when Director Ueda Shinji saw the character creation I had done, he said “You’re pretty interesting.” I learned that if you perform with all your energy and try to get a part instead of waiting for one to be given to you, there are those who will take notice. The feeling of strength I gained then have helped me ever since and stopped me from being overcome by anything.
Right now I’ve been recognized for my individualities a lot more, although there are still areas where I need to work on adhering more to ‘the legacy of Takarazuka.’ Also, I want to become a senior actress who can speak out to junior actresses who may be going through the same struggles that I did back then.
1 – While Junya debuted as an otokoyaku, she switched specialties to musumeyaku after a few years.
